With her hard work and sensitive understanding she has managed to capture the delicate nuances of the Manipuri style... She has imbibed the essence of Manipuri, "subdued" eloquence.. the "Krishna Tandav" revealed the virile aspect of the style... skillfully performed by Sharon with all the colour and thrill that goes with it. 

 

Link Magazine, New Delhi

 

In Sharon Lowen, Guru Kelucharan Mohapatra has an extremely gifted disciple... Sharon's forte is her considerable command over the idiom and an extremely attractive stage presence, combining grace and mobility.

 

The Sunday Observer

 

She has proved beyond doubt that innovations are the order of the day...Tyagaraja’s “Nidi Tsala sukama” was the crowning piece...choreographed brilliantly...Abhinaya was subtle and full of intensity..The intensity with which she delineated (Omkara) brought out an inner radiance during the final sequence.

Shanta Serbjeet Singh

Hindustan Times, New Delhi

 

(In the Khandita Asthapadi-Yahi Madhava) Her nuances on expectation, yearning and disappointment are indeed something to watch.... she is a tragedienne on the highest order...out of this world and deserved accolades for its interpretation. Kalidasa's Parvati wanting to marry Shiva.. The abhinaya rose far above its usual demand to heights of spiritual bliss....by reason of her personal projection she has internationalised Odissi with out altering one iota of its form or style but by enriching this dance from with mortal intensity in acting and a stronger projection of feeling the quality of movement. Her additions lend excitement and clarity to the style in total. 

 

Evening News, New Delhi

 

She was all of dignified maturity and fluid movements marked throughout by that indefinable something we can only call the mind...serene, inward-looking joy.

 

The Sunday Observer

 

The multifaceted Sharon Lowen, one of the brightest disciples of Odissi Wizard, Kelucharan Mohapatra.. brought the house down with her piece from Geet Govinda where Radha pleads to Krishna to apply the sandal paste back to her face which he had ruined by kissing her.  The aesthetics and artistry of her dance was evident.

 

Amrita Patrika, Calcutta

 

Movement in all its joy as it flowed through space and time in the Pallavi in Arabhi which was flawless in rhythm.  

Leela Venkataraman

The Hindu, New Delhi

 

Sharon's portrayal of Uttam Nayika will perhaps be regarded as one of the best...Sharon exuded a radiance.

Rubai

Sunday Herald

 

Sharon swept the audience off their feet by her compelling interpretation.

Leela Venkataraman

The Hindu , New Delhi

 

The footwork had a stamp of virtuosity...uninhibited flow of rhythm and movement in a delightful stream of pure dance.

Leela Venkataraman

The Hindu

 

Her ability to become one with the emotive content of the lyric is astonishing.

Subbudu

The Statesman, Madras

 

a vibrating experience for the audience...controlled abandon of ‘laya’ - ‘taal’ and ‘bhangis’...pure dance and ‘angabhinay’ was spectacular...In the devotional pieces the dancer appeared to have delved deep into her psyche to produce such a trance like state of being.

 

The Chicago Maroon

 

Sharon's complete control over the dynamics of the profile of Odissi enabled her to bring out vividly the sculpturesque beauty of the style.  Moving towards and away from the frozen moments with graceful ease in both the Pallavi compositions, Sharon seemed to bring alive the temple friezes that one sees in Odissan (sic) sculpture.  The languorous beauty of the style had in this dancer an enthusiastic performer whose every movement seemed to exude joy.

Leela Venkataraman

The Patriot, New Delhi

 

Sharon's body movements displayed a marvelous "lasya" (feminine grace), with softness, grace, beauty and joy which she uses to create an elegant world of dance.  The Manipuri style possesses a unique beauty of its own and it is that beauty that Sharon projects to perfection.

Chhaya Bhatnagar

Dharamyug Magazine (Hindi)

 

Sharon excelled in the Chhau.. torso thrusts and leg extensions in the midst of extremely difficult balance postures.  Sharon executed these

 

Chicago Maroon

 

The East Indian solo dancer has ways of bringing details into a harmonious whole even as she is offering them for our inspection and -- if she is good for our delight...Sharon Lowen is good...She has a beautiful line. Her gestures are both compact and full in space...her legible face is ideal for showing the vivid, changeable expression of Odissi dance: we can see how her large , dark eyes flash in rage, then soften, how her full mouth tightens, pouts, curves in a reproving smile. She excels at the teasing erotic poems that both recount the exploits of Krishna  and adore as the object of all desire.

Deborah Jowett

The Village Voice, New York

 

Sharon Lowen has the intellect of a scholar, the devotion of a dancer. She is a dancer, and a beautiful one at that...In the sharply rhythmic and intricately-mimed Odissi dances from the state of Orissa, the dancer showed an impressive ease with the sculptural shapes and hand mudras of the style. Her footwork was precise and sure - even in the double tempos of the ecstatic Moksha Nata segment. She took a firm but sensitive control of the space and freely infused the work with a measure of personal nuance within the context of the rhythmic patterns.

Martin David

Drama-Louge, Los Angeles-New York